Welcome to latest issue of Pro Moviemaker magazine If you need a fix of the very latest and greatest hardware and software, then the latest Pro Moviemaker magazine is out now and it’s just what you need to get you up to speed. There’s page after page of the new equipment from the IBC mega-expo, including Canon’s baby cinema EOS C50, Nikon’s ZR, Fujifilm’s GFX Eterna 55 and the 2800fps Pixboom Spark. We’ve got more tests than ever before, as we try out the FX2 hybrid and RX1R III compact from Sony, Sigma’s minimalist BF and the OM Systems OM-D 50-200mm f/2.8 Pro zoom on the flagship OM-1 Mark II and lots of Sigma primes. And the annual Pro Moviemaker Gear of the Year Awards winners are revealed in our special celebration issue. Plus Xmas gifts yule really want!
GIFTS THAT MAKE THE CUT From lights to lenses, these are the festive must-haves every filmmaker desires
THE PTZ REVOLUTION
All the latest kit you need to join the remote-control smartcam boom
www.promoviemaker.net @ProMoviemaker NOVEMBER/DECEMBER 2025
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FINAL SCORES SIMPLY THE BEST
Hardware and software winners in our annual mega awards
FRAME CHANGERS
THE NEW CANON, NIKON AND SONY CAMERAS BUILT FOR EVERYTHING, FROM SOCIAL MEDIA TO SERIOUS CINEMA REEL DEAL HYBRIDS
STYLE OR SUBSTANCE? COMPACT CLASH
CODEC TRUCE RAW RESOLVED!
ALSO IN THIS ISSUE Fujifilm GFX Eterna 55,
Atomos Shinobi 7 monitor , 1800fps Pixboom speed cam, Sigma’s cine zoom with AF, Tascam 32-bit float recorder, fast OM System superzoom and One Manfrotto tripod for all!
The pocket-sized Sony RX1R III and quirky Sigma BF put to the test
ProRes Raw comes to DaVinci software as Sony goes with Blackmagic Raw
MKE 400
A small, but seriously capable set-up When your goal is to keep your filmmaking set-up light and mobile without compromising sound, the Sennheiser MKE 400 is the mic that proves small really can be mighty. Sleek, durable and featherweight at just 93.5g, it mounts effortlessly on your mirrorless camera, transforming your on-the-go gear into a professional audio rig.
Sound quality, but without the bulk
Enjoy complete creative freedom
A supercardioid pickup and miniature shotgun design mean the mic focuses on a subject’s voice while eliminating background noise. An integrated shock mount and internal wind protection keep handling noise to a minimum. A three- step gain switch (-20, 0, +20dB) and low- cut filter ensure clarity, and monitoring is easy via a built-in headphone output with adjustable volume. It’s powered by two AAA batteries lasting up to 100 hours.
The MKE 400 Mobile Kit takes things further by adding a premium Sennheiser Smartphone Clamp and Manfrotto PIXI Mini Tripod. The clamp’s rubber grips and 180° rotation make switching between portrait and landscape effortless, while the PIXI provides rock-solid support and handheld stability. Together, they form a complete, compact solution for vloggers, filmmakers and content creators who demand pro audio wherever they shoot.
HD 280
The monitoring standard wholly reimagined Unrivalled quality, timeless design and professional performance – that’s the Sennheiser difference. While many filmmakers already know and trust the incredible mics, serious work depends on critical listening, and you need headphones that tell the truth. The Sennheiser HD 280 Pro delivers just that: honest, accurate sound reproduction in a rugged, closed-back design built to endure tough production environments.
Comfort combined with durability
Engineered for professionals
The HD 280 Pro represents Sennheiser’s most significant closed, around-the-ear headphone release in years. Designed from the ground up for pro monitoring, whether in the studio, on set or location, these headphones offer exceptional noise isolation and a balanced, neutral frequency response. With a maximum SPL of 113dB, you will experience clear, distortion-free audio that lets you focus on the nuances that matter most.
Robust, replaceable components are combined with a foldable, collapsible design that’s easy to transport. Swivelling ear cups and an ergonomic fit make them comfortable for long sessions, while a closed-back construction blocks out ambient noise so you can concentrate fully on the sound. These dynamic, wired headphones connect through a standard 3.5mm jack and, at just 285g, they are lightweight yet reassuringly solid.
MKE 600 Cinematic sound made simple
Precision sound for serious filmmakers
Versatility is key for on-set sound, and the MKE 600 is built to adapt. While it’s designed to operate for up to 150 hours on a single AA battery, complete with a handy low-battery indicator to prevent surprises mid-shoot, it can also run on 48V phantom power. With its rugged all- metal housing, lightweight 128g body and compact 256mm length, the MKE 600 is tough enough for field work yet light enough for smaller rigs. Built to work alongside any system
When clarity and control matter most, Sennheiser’s MKE 600 delivers. This compact, supercardioid/lobar shotgun microphone has earned its reputation as a go-to tool for filmmakers and sound recordists tackling demanding productions. Its high directivity helps to isolate exactly what’s in front of the mic, rejecting unwanted noise from the sides and rear in order to keep dialogue clean and focused.
Ideal for location work, interviews or narrative filmmaking, the MKE 600 excels at capturing crisp, natural audio with minimal post-production clean-up required. The mic’s switchable low-cut filter helps tame wind noise and low- frequency rumble, while the included foam windshield provides additional protection. For outdoor shoots, an MZH 600 blimp is available separately.
Hear the difference with Sennheiser
Precision meets passion at Sennheiser, from class-leading microphones to professional headphones and beyond
Sennheiser has set the benchmark for professional sound for 80 years, delivering audio solutions that combine cutting-edge innovation, robust engineering and unmistakable quality. Every piece of equipment is crafted with precision, shaped by decades of research and refined by a relentless passion for pure, accurate sound. That’s why Sennheiser remains the name trusted by filmmakers, content creators and audio professionals worldwide – where reliability and performance go hand in hand. From Black Friday, 28 November through to New Year’s Eve 2025, Sennheiser is making that excellence more accessible than ever as participating dealers offer special pricing on a selection of Sennheiser’s most popular products.
A DIFFERENT PATH Sony is going its own way with the tilting EVF on its FX2 hybrid, a detail Canon and Nikon said no to
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Junior sub editors Tabitha John & Kezia Kurtz Editorial director Nicola Foley EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)7875 711967 samscott-smith@bright.uk.com Sales manager Emma Stevens +44 (0)7376 665779 emmastevens@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
Nikon’s ZR, on the other hand, leans totally into creator culture. It’s the hybrid that wants to do it all, such as social content, documentaries, weddings and maybe even art-house stuff as well. While its rivals’ hybrids have lots of mounting holes to fix accessories, the Nikon is a camera you can use without any. The most interesting divide, however, is in image quality. Sony’s camera is the only one without internal Raw recording. The company decided that 10-bit 4:2:2 and external capture are good enough, a curious stance in a world where even smartphones are flirting with Raw files. Meanwhile, Canon and Nikon are doubling down, offering the same quality options once reserved for cinema cameras costing three times as much. None of them are wrong. Sony’s FX2 is based around a slick, proven system that’s fast, dependable and easy to use. Canon’s C50 is the most cinematic, designed for those who think in terms of lighting ratios and shot lists. Nikon’s ZR might be the most forward-looking, understanding hybrid as a complete mindset shift, not a compromise. Three cameras, three philosophies. It’s not about who wins – it’s about what kind of storyteller you are.
There’s something fascinating about watching three giants of imaging head in three different directions while all chasing the same central idea. The hybrid camera, once a compromise child of stills and video, has finally grown up. But if the latest trio of releases – the Canon EOS C50, Nikon ZR and Sony FX2 – are anything to go by, nobody can agree on what a hybrid really is. Sony, the pioneer of the category, clearly sees refinement as progress. Its new FX2 has a bold new addition – an electronic viewfinder (EVF). It’s something users of the FX3 and FX30 have been begging for, Sony claims. It’s a return to old-school ergonomics in a world obsessed with minimalism. The irony is that Canon and Nikon have gone the opposite way, deciding that the EVF is dead weight. Canon’s C50 belongs to the clear logic of the Cinema EOS family: this camera is meant to be used by new-school content creators who’ve been brought up looking at a screen and not using a viewfinder. While its more advanced users will use a rig, as it’s unapologetically a filmmaker’s tool. If you’re shooting with professional monitors and recorders, who needs an EVF cluttering things up?
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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NOVEMBER/DECEMBER 2025 CONTENTS IBC AGENDA SPECIAL 6 CANON GOES OPEN GATE WITH EOS C50 Canon has widened its range for filmmakers and content creators with the EOS C50, a compact, full-frame RF- mount hybrid camera that offers open gate recording. 8 HANDS-ON WITH THE BABY CINE EOS From anamorphic glass to AF lenses and more, we get to grips with the latest Canon EOS C50 in a test Finally, the Nikon-Red alliance unveils a brand-new camera with the shockingly affordable and tech-packed ZR hybrid mirrorless. With Red colour science, loads of Raw choices and 32-bit float audio too! 12 BLACKMAGIC OPENS UP TO PRORES RAW No more Raw deals for Apple ProRes shooters as DaVinci Resolve now works with the popular codec, and Sony confirms it will be offering BRAW. 14 THE ETERNA QUESTION IS ANSWERED! Fujifilm takes the wraps off its new GFX Eterna 55 cinema camera, complete with super-size 100-megapixel sensor The brand-new Atomos Shinobi 7 RX monitor sets a new standard for brightness with a staggering 2200 nits. Plus Atomos unveils a widescreen editing monitor and more. 18 BOOM TIME FOR HIGH-SPEED VIDEO The Pixboom Spark is a global shutter Super 35 camera offering up to 1800fps, and it’s affordable enough to bring slow motion into the hands of more filmmakers. 22 IN THE HEAT OF THE LIGHT Take a look at the glut of red-hot LED releases from the IBC Show with fresh kit from Astera, Litepanels, Vortex, Nanlite and Nanlux. 24 CUT-PRICE MOTION CONTROL shoot – and our first impressions are good. 10 RED LETTER DAY FOR NIKON and Film Simulation modes built in. 16 THE MAGNIFICENT SEVEN It still costs £20,000 but the MRMC Cinebot Nano brings full robotic remote control to a wider audience. Also, check out high-tech kit from Teradek, Autocue and Autoscript. 27 SIGMA WOWS WITH LENS LAUNCHES The Japanese indie optic brand continues to innovate with the 28-45mm T2 cine lens that offers AF, the incredible 135mm f/1.4 and 35mm f/1.2 primes and more. 28 LAOWA BRINGS THE SUNLIGHT Anamorphic zoom lenses are unveiled by Chinese lens brand Laowa, while Elysas offers customisable cine primes and Irix drops a radical lens adapter.
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AGENDA 30 MAX-SIZE SENSOR FOR MINI DRONE
DJI does it again by going large on its sub-250g Mini 5 Pro drone, Lumix launches an ultra-telezoom, Accsoon brings a major firmware boost to its wireless kit and OWC powers up its Thunderbird dock. 33 APUTURE GOES DOWN A STORM Boost the output of your Storm XT52 light with Aputure’s new fresnel. Plus Nikon unveils its second-generation 24-70mm f/2.8 pro zoom lens in Z mount and the Samyang-Schneider collaboration continues. 35 OH HARLOWE, WHAT DO WE HAVE HERE? Hobolite rebrands itself as Harlowe and lights up a trio of stylish and small LED lights. Sony gets up close with a new macro prime and Yashica goes retro with its old-school camera range. 38 YOU CAN’T HAVE TOO MANY COOKES Boutique British lens brand Cooke unveils its latest range of primes, while there’s more new glass from Tamron. Riedel makes pro-level streaming more affordable and Adobe Premiere Pro gets an upgrade. AWARDS 40 GEAR OF THE YEAR: THE WINNERS REVEALED! We reveal the winners of the Pro Moviemaker Gear of the Year Awards, the most influential tech prizes in filmmaking, as voted for by professionals all around the world. See what won and why, and don’t think about splashing out on new kit until you’ve read this!
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GEAR 58 SONY EXPANDS ITS HYBRID RANGE We test out the FX2 complete with its unique tilting viewfinder and focus on high-res stills performance. Plus see Sony’s new XLR mic tried and rated. 64 THE RETURN OF THE PREMIUM COMPACT There was a time when every serious image maker owned a compact camera, but not any more. We try the 61-megapixel Sony RX1R III to see if it still makes sense. 66 IS THE BF STYLE OVER SUBSTANCE? The super-minimalist Sigma BF is cool, sleek and packs decent filmmaking spec. But we check out its handling and find issues that might rule it out for filmmakers. 68 OM SWEET OM The latest OM System kit is made for the outdoors, so we test out the latest 50-200mm f/2.8 zoom to see if it will ruffle a few feathers for wildlife and sports shooters. 70 ’TIS THE SEASON TO SPEND LOLLY... Don’t waste money on unnecessary festive gifts. Check out our annual guide to the coolest buys for Christmas, even if you do have to fund them by yo’elf. 76 MINI TESTS: GIVING KIT A GO FOR YOU We get hands-on with two Sigma primes, a backpack, a huge hard drive, an innovative wireless audio kit and Manfrotto’s impressive One-tripod-for-all. BUYERS’ GUIDE 86 PTZ CAMERAS AND CONTROLLERS It’s the growth area everyone is clamouring to get into. We round up the latest and greatest hardware for remote- control cameras, ideal for live streaming and broadcast.
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The new Canon EOS C50 includes high frame rates, open gate recording and advanced connectivity in a lightweight body C anon has expanded its range for filmmakers and content creators through the £3299/$3899 EOS C50. A compact, full-frame RF mount hybrid camera, it offers high-end cinematic performance thanks to internal Baby Cinema EOS packs 7K Raw power
with anamorphic lenses, open gate also provides a traditional Cinemascope super- wide image. Simultaneous crop recording allows the recording of a full-frame master image while also capturing a cropped vertical or square version for fast social media delivery. Depending on the mode, the camera switches between the familiar Cinema EOS interface and the EOS R-style photo menu. Autofocus is powered by Dual Pixel CMOS AF II, offering reliable subject detection and tracking across people, animals and birds. Creators can fine-tune AF speed and responsiveness, and even choose which eye to prioritise to suit the subject. The C50 is highly portable and rig- friendly with multiple mounting points. It can be used in horizontal or vertical orientation with the menus and display automatically adapting. A detachable top handle adds XLR audio controls, a zoom rocker and record button for camcorder-style handling. For high-quality sound, the handle features dual three-pin XLR inputs for pro-grade audio capture. The C50 supports Canon’s full range of RF lenses natively, but the optional PL-RF adapter allows industry-standard PL glass to be used. EF lenses are also supported via Canon’s EF-RF adapters. The C50 is loaded with connectivity options to suit most workflows. Along with XLR audio inputs, it also has HDMI Type A, USB-C, Timecode I/O and a mic terminal. Dual card slots support one SD and one CFexpress Type B card, allowing simultaneous capture of different formats and proxies. For live streaming, the C50 is able to support UVC/UAC output up to 60p over USB. Remote control is possible via Canon’s XC Protocol, either from a smartphone app or the RC-IP1000 remote
Raw codecs and open gate recording. The C50 is the smallest Cinema EOS camera to date, designed to integrate into a variety of productions, from solo run- and-gun shooters to major multicamera shoots. Its portable, modular body hides some heavyweight technology, with a brand-new 7K full-frame CMOS sensor paired with Canon’s Digic DV7 processor for high image quality in both video and stills. Filmmakers can capture Raw video at up to 7K/60p, 4K/120p or 2K/180p, while photographers will benefit from 32-megapixel stills. A first for Canon’s cinema range, the C50 supports open gate recording – something even Canon insiders thought would never happen. Shooting in the new 3:2 full-frame sensor mode uses the entire imaging area, making it easier to reframe in post or produce multiple outputs, from horizontal cinematic footage to vertical formats for social media. When paired
panel. Files can be shared directly with clients via Wi-Fi or Canon’s Content Transfer Professional app. More than that, Canon has also extended its Adobe Frame.io Camera to Cloud partnership to the new model. Proxy files can now be uploaded to the cloud in real time, streamlining collaboration between production and post. The EOS C50 takes inspiration from the popular EOS R5 C but raises the bar in terms of flexibility and workflow options – at the cost of 8K capture. Canon is also promising free firmware updates for other Cinema EOS models, adding features such as open gate Raw recording to the EOS C400 and enhanced focus tools for the C80, R5 C and C70. canon.co.uk
READY FOR HOLLYWOOD The EOS C50 can be matched to a cine prime and XLR top handle for big productions
Hands-on with the EOS C50: see over the page
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The widest-ever Cine-Servo zoom has been revealed by Canon – the CN5x11 IAS T R1/P1, which has an 11-55mm focal length. Weighing 3kg, it is also the lightest lens in Canon’s Cine-Servo line-up, ideal for handheld, gimbal, crane or wire cam shooting. A built-in 1.5x extender increases the reach on Super 35mm cameras and enables full-frame compatibility on larger- sensor cameras. The lens has Canon’s latest e-Xs V Digital Drive Unit for precise servo control, focus breathing correction and improved ergonomics, with USB-C connectivity. Its removable servo unit allows reconfiguration for broadcast or cinema use. Available in RF or PL mount, the CN5x11 IAS T R1/P1 supports both Cooke /i and Zeiss eXtended Data in PL, while the RF version adds Dual Pixel CMOS AF as well as advanced distortion correction. WIDEST-EVER CINE-SERVO ZOOM LENS
HANDY CAM With an autofocus RF lens mounted, the new EOS C50 is a very compact all-in-one cinema powerhouse
WHY CANON’S 85MM IS YOUR NEXT DREAM BUY
If you spent years lusting after L-series Canon EF lenses – and then the newer RF-fit L-series glass – the latest VCM optics might change your mind. The L-series RF range is optically stunning, with superfast apertures and creamy bokeh, but can be pricey and heavy. And, crucially, they are designed primarily for stills shooters. Canon believes the way forward for video and hybrid shooters is the Voice Coil Motor line, which offers similar levels of optical performance but with huge benefits for filmmaking. These include a smaller size and weight, and consistent dimensions for easier
rigging. The zooms offer servo control direct from the camera body with an optional bolt-on drive unit. The latest addition to Canon’s 20, 24, 35 and 50mm lenses is the £1680/$1649 RF 85mm f/1.4L VCM, a portrait lens in a lighter, more versatile package. Under 100mm in length and only 636g, the RF 85mm is about half the size and weight of Canon’s RF 85mm f/1.2L USM. The lens offers an advanced optical design that combines UD and aspheric elements with Super Spectra and ASC coatings to ensure sharpness and control aberrations. The wide f/1.4 aperture gives portrait shooters smooth subject separation
and striking bokeh, enhanced by an 11-blade circular diaphragm. Canon’s VCM autofocus technology offers fast, silent and precise focusing, while also minimising focus breathing.
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Hands-on with the EOS C50 The RF mount supports both RF and RF-S lenses, while adapters open up EF and PL options. So you can pretty much use the glass you like. Canon announced this as its first
There is only so much you can tell about a camera after just a few minutes trying it out at a major show like IBC. But luckily, in the case of Canon, a few days later there was a far longer try-out session at a studio space in London. Along with the tech support team, we got to try the hybrid glass to full Canon cine primes, there was a lot to play with. There was even some anamorphic glass with on- camera monitors showing what the de- squeezed image would look like, plus the XLR top handle for pro-level audio. camera in a variety of set-ups. From AF with the latest RF-fit The first and most obvious thing about the Canon EOS C50 is that it’s small and light, with 14 customisable buttons. It’s slimmer than Sony’s FX3, but still feels solid. The buttons feel good but some are a tad small, and when you flip out the three-inch articulating touchscreen, it feels slightly cramped. As with other cameras in this class, there’s no EVF, meaning that when the screen is flipped out it covers a cooling vent. You can also attach a top handle which houses two full-size XLRs, an extra Multi-Function Shoe and more controls, including a fourth Rec button.
camera to offer open gate recording – a major plus for content creators delivering multiple formats. A simultaneous shooting mode, which records 4K horizontal video to CFexpress while capturing 2K vertical footage to SD, is perfect for social edits. Dual menus switching between stills and cine interfaces make it a true hybrid. Add pro-grade connections like Canon’s XC Protocol, Frame.io integration, full- size HDMI, dual XLRs and timecode, and this camera is built for serious filmmaking. The only real omission is IBIS, which you would say gives the FX3 the edge for handheld work, but Canon showed a video highlighting the benefits of in-camera digital stabilisation versus IBIS. It looked convincing, but we’ll wait until we do our own tests to confirm the theory. There is no doubt the inclusion of internal Raw, waveforms, shutter angle and pro audio makes the C50 a complete filmmaking tool. Add in high-resolution stills performance and it’s a great hybrid. A full test will be coming soon.
MINI MASTERPIECE Despite the size, it suits being rigged up with a handle, cage, monitor and anamorphic lenses
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N ikon’s first camera made in Cinema line and the lightest all-in-one full-frame cinema camera to date. Built for filmmakers and creators, the ZR weighs in at just 540g and targets Sony’s ageing FX3, as well as the new Canon EOS R50. At £2199/$2197, it undercuts all of them and will be the entry-level model in the range. Although its specifications are anything but low end, including three distinct types of internal Raw codecs. At its heart is a 6K semi-stacked, 24.5-megapixel full-frame sensor with dual base ISO of 800 and 6400, borrowed from the Nikon Z 6III but reworked by Red’s engineers. The result is a wider, 15+ stops of dynamic range with fast readout speeds that minimise rolling shutter. The ZR records internally at up to collaboration with its subsidiary company Red is the new ZR, the first complete camera in the Z 6K/60p, with options from cinematic 24p to 240fps extreme slow-motion in 2K. It can shoot 4K in 120p, but this has a 1.5 crop. All other frame rates are uncropped. A range of recording formats are supported, including Nikon’s first implementation of Red’s 12-bit R3D NE codec, which allows ZR footage to match Red camera systems in post. It can record 12-bit Raw in Apple ProRes Raw and Nikon NRAW formats, as well as 10-bit ProRes or 8-bit H.264/265 files, to save space and time in post-production. It can also shoot stills to the same level as the Z 6III. Unlike rivals from Sony and now Canon, instead of offering lots of 1/4in-20 mounting holes for accessories, the ZR is made to be used without extras. It has a
Nikon and Red reveal ZR cinema cam Look out Sony FX3 and Canon EOS C50, as Nikon and Red unveil a 6K cinema camera with Red colour science plus 32-bit float audio
“The ZR records internally at up to 6K/60p, with options from 24p to 240fps in 2K”
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V-RAPTOR XE TARGETS INDIE CREWS n 6K semi-stacked full-frame sensor n 15+ stops of dynamic range n Up to 6K/60p, 4K/120p and 2K/240p recording n Exclusive Red R3D NE codec with Red colour science n Dual base ISO 800/6400 n 32-bit float in-camera audio recording n 4in DCI-P3 vari-angle touchscreen with 3D LUT support n Five-axis IBIS and focus breathing compensation n Intelligent AF with subject detection and tracking n 540g body with full weather sealing n Z mount compatibility plus F mount and third-party lens support KEY SPECS AT A GLANCE The new Red V-Raptor XE brings the brand’s legendary image quality to a wider range of filmmakers as it costs a more accessible £13,800/$14,995, making it the most affordable entry point into Red’s global shutter, large-sensor ecosystem. The XE is a streamlined version of the flagship V-Raptor X with the same 8K VV global shutter sensor. This gives incredible dynamic range, low-light performance and Red’s iconic colour science. Recording is 8K up to 60fps, 6K at 80fps, 4K at 120fps and 2K at 240fps. A firmware update due this year will introduce faster boot times and sensor optimisation for improved power efficiency. The XE will be available with RF or Nikon Z mounts, and is compatible with V-Raptor accessories. Red offers a Cine Essentials Pack at £18,372/$19,995 with the XE body, PL mount with electronic ND, Red Touch 7in LCD and outrigger handle. A first for Red, Komodo owners can trade in their cameras for credit towards the XE or V-Raptor X. The XE can be upgraded to full V-Raptor X specifications when needed. red.com
SOCIAL STAR The ZR is designed to handle everything from vertical videos to stills – ideal for content creators
1000-nit four-inch articulating screen and records Raw internally, so there’s no need for an external monitor-recorder, claims Nikon. And it’s the first camera to offer internal 32-bit float audio, so it doesn’t need external recorders or large XLR mics. The ZR is also the first Nikon to have a dedicated multi-interface hotshoe, which accepts the new ME-D10 digital shotgun mic as well as third-party options from Tascam. For run-and-gun shooting, the ZR has advanced built-in mics that can record different sound patterns. Up to ten 3D LUTs can be loaded for previews of creative looks while shooting.
Additional pro features include focus breathing compensation, fast intelligent AF with subject detection and five-axis in-body stabilisation. It doesn’t have a cooling fan, but Nikon says there’s great heat dissipation for long recording times. Memory comes via a single CFexpress card and one microSD. The ZR is completely weather sealed and will accept Nikon Z mount lenses, as well as F mount and third-party glass via adapters. The camera offers four cinematic video modes and nine Red Picture Controls, enabling content with a distinctive look straight out of camera.
TRIPLE THREAT Now the Z Cinema line has the Red V-Raptor and Komodo with Nikon lens mounts, and is joined by the Nikon ZR, made in conjunction with Red engineers
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Milestone for Raw as Blackmagic goes all in
The Blackmagic Camera ProDock transforms Apple’s latest iPhones into production-ready cameras. The £270/$295 dock adds connections including external audio inputs, HDMI, genlock, timecode, USB-C expansion ports and SSD recording. Designed to be able to integrate with the Blackmagic Camera app, the ProDock enables the iPhone 17 Pro and iPhone 17 Pro Max to sync multiple phones with external gear, record directly to external SSDs and monitor via HDMI – all while powering the device. ProDock’s genlock support ensures frame-accurate sync for multicam shoots or LED wall production, while timecode input makes post-production alignment automatic in DaVinci Resolve. PRODOCK BRINGS TIMECODE TO NEW IPHONE 17 RANGE Finally, Apple ProRes Raw comes to DaVinci Resolve as BRAW heads to Sony cameras T he future is Raw capture, according to Blackmagic, which has not only opened its software and hardware to Apple ProRes Raw, but also expanded Blackmagic Raw to third-party cameras, including Sony’s FX line. It means that Sony – the last major manufacturer to omit in-camera Raw
files – will now be able to output Blackmagic Raw files to a Video Assist monitor-recorder in its FX3 and FX30 this autumn, followed by the FX6 and FX9 cinema cameras before the year’s end. Sony released firmware for the FX3 in August to enable external BRAW files, but there’s been no way of recording and viewing the footage as Blackmagic’s Video Assist monitors haven’t been upgraded. Blackmagic had a Sony FX3 running a beta version of the software in September at the IBC Show in Amsterdam. While Blackmagic already offers this option in some Nikon, Panasonic and Sigma cameras, Sony is the biggest brand to have hopped on the BRAW bandwagon. A free update, launched as DaVinci Resolve 20.2 and Blackmagic Camera 9.8 Public Beta, adds full compatibility with both ProRes Raw and ProRes Raw HQ formats. The rollout extends to DaVinci Resolve, DaVinci Resolve Studio and the Blackmagic Pocket Cinema Camera 4K, with support for Blackmagic Video Assist 12G HDR arriving in an upcoming update soon. Footage shot on Apple’s new iPhone 17 Pro in ProRes Raw can now be edited natively in Resolve, making the codec more accessible across a range of productions.
WORK LIKE MAGIC Apple ProRes Raw finally comes to Blackmagic’s monitors and Resolve software
As Sony cameras already output ProRes Raw, it gives users a choice of Raw formats when using DaVinci Resolve. ProRes Raw is based on the Raw data from the sensor before debayering, while BRAW partially debayers the signal and then compresses it. Both have pros and cons, but it means users will have a wider choice. “With the new addition of ProRes Raw formats, we’re continuing our commitment to updates for existing products,” said Grant Petty, CEO of Blackmagic Design. “Pocket Cinema Camera 4K customers have always been able to record in compressed ProRes 422 formats, but now they will have the ability to record ProRes Raw and natively play back the files in DaVinci Resolve.” blackmagicdesign.com
SONY CHIEF TALKS CODECS
blockbuster films find the quality of the X-AVC and ProRes formats to be more than satisfactory, even though the Venice can output Raw X-OCN files. Takahashi showed a prototype box-style mini-camera that Sony made especially for the movie F1 , which is linked by a cable to a separate recorder unit. He said it recorded in X-AVC, which was used in the movie, and the camera could be put into production in the future.
Nobutatsu Takahashi, the general manager of professional imaging technology at Sony, explained that Sony can bring internal Raw recording to its cameras when customers demand it. As the head of the Sony Cinema Line series, he denied the reason Sony has not yet offered internal Raw is a much-rumoured patent issue with Red over compressed Raw video formats. He is unconvinced professional filmmakers actually use Raw, citing that even Hollywood
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Fujifilm finally reveals details of its GFX Eterna 55 large format cinema camera I t’s been one of the most highly anticipated cameras of the past year, and now Fujifilm has officially launched the GFX Eterna 55, a cinema Eterna question finally answered and the camera adapts to any lens with an appropriate image circle. A native G Mount keeps it compatible with GF lenses, while Fujifilm’s new PL mount adapter opens the door to cine glass.
camera built to deliver Hollywood-level visuals within a compact, production- friendly package at a competitive price. Almost a full 12 months since the development of the 102-megapixel mega camera was revealed, the new Eterna does not disappoint, with cutting-edge features like the world’s first electronic ND for large format, phase detection autofocus and a huge range of codecs. And it costs a competitive £13,999/$16,500 body only. What’s impressive is the sheer size of the sensor – the only way to get the super-cinematic blockbuster look. It’s the 44x33mm GFX CMOS II HS sensor used in the brand’s GFX stills camera range, with a diagonal of approximately 55mm. It’s around 1.7x larger than a conventional full-frame sensor, and its size makes it the tallest large format sensor that’s designed for filmmaking. The GFX has the largest area of any sensor at 1441 sq mm, compared to the Arri Alexa 65 which covers 1385 sq mm, while the Blackmagic Ursa Cine 17K 65 is 1184 sq mm. But the sensor shapes are different, so the Arri is the widest at 54.1x25.6mm to give a 59.9mm diagonal. The Ursa is 50.8x23.3mm for a 55.9mm diagonal, while the Eterna measures 43.8x32.9mm for a 54.8mm diagonal. Changing aspect ratios means a crop is used, which affects how much of the sensor is in play. The GFX Eterna 55 enables open gate 4:3 to Super 35, 35mm and Premista crops,
One of the most useful innovations is the electronically variable ND filter. Covering 0.6ND to 2.1ND (2-7 stops), the filter can be adjusted in ultra-fine 0.015 increments or in 0.1-stop steps. To ensure accurate colour without moiré, Fujifilm has created an optical low- pass filter that uses four-point separation. Combined with Dual Base ISO at 800 and 3200, the GFX Eterna 55 promises great performance even in challenging light. Drawing on more than 90 years of film expertise, Fujifilm has included an expanded suite of colour pipelines. The camera offers 20 Film Simulation modes, including the Eterna, Velvia, Acros and Eterna Bleach Bypass looks. These can be previewed live on-set while recording clean Log footage, or baked into recordings for faster turnarounds. Colour grading flexibility is boosted by support for F-Log2 and F-Log2 C, capturing over 14 stops of dynamic range. For precision workflows, ten Film Simulation LUTs are available at launch, which can store up to 16 LUTs internally for instant preview or final looks. The camera supports Apple ProRes 422 HQ, 422 and 422 LT recording internally, alongside HEVC/H.265 and H.264. When capturing in ProRes, it can also generate ProRes 422 Proxy files for streamlined offline editing. For higher-end workflows, the camera outputs 8K/30p 12-bit Raw via
HDMI. Fujifilm has also embraced Camera to Cloud workflows, enabling direct upload to Frame.io, so editors can begin cutting even as footage is still being shot. The standard ISO range is 400-12,800, extendable down to 100 and up to 25,600. In resolutions higher than 4K, frame rates max out at 30fps, but C4K and lower goes
WOODEN YOU LIKE SOME ACCESSORIES?
Although many standard accessories can be used – like a Zacuto viewfinder – Fujifilm is also working on its own custom EVF. It had a working demo ‘under the counter’ at the IBC Show and Pro Moviemaker got a secret preview of it in use. It’s still only a protoype, but is very compact and bright. Sadly, no photos were allowed!
It’s important that any cinema camera can be built up into a working production rig, and Wooden Camera has already launched a full custom ecosystem of accessories for the GFX Eterna 55. The Californian company has a modular top plate and a set of Nato rails, handles and brackets to fit Gold or V-Mount batteries – plus a lens mount for Arri LPL glass.
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You don’t need the GFX Eterna 55 cinema camera to fall for the new Fujinon GF32-90mmT3.5 PZ OIS WR, but it helps. This is the first motorised power zoom in the GF line, and the first to be optimised for motion production. It fits on GFX System models like the GFX100 II. A triple-ring system gives manual control of focus, zoom and iris, with industry-standard 0.8M gear pitch for accessory compatibility. Internal motors allow remote operation via the GFX Eterna 55, without extra external motors. Weighing in at just 2.15kg, the £4699/$6000 optic combines cinema-style operability and a wide-to-standard focal range with a constant T3.5 aperture. With 25 elements in 19 groups, including three ED and three aspherical, plus a 13-blade iris, it produces smooth, circular bokeh, even stopped down. Inherited from Fujifilm’s flagship Premista cine zooms, internal barrel components reduce focus breathing and distortion. Additionally, Nano GI coatings help to suppress flare and ghosting, while a rear-focus mechanism and element-thinning techniques help achieve a compact form. Optical Image Stabilisation, high-precision autofocus, as well as a focus ring with a wide 200° throw provide fine control. FIRST GF POWER ZOOM GOES ALL CINEMATIC
BIG FUN The Fujifilm GFX Eterna 55 offers a large sensor, ideal for big productions, and the camera can be fully rigged for cinematography
up to 60fps. So this is no Red-beating speed monster. And of course, Red, Arri and Blackmagic all offer internal Raw recording – a key omission on the GFX. Despite its large format muscle, the GFX Eterna 55 weighs just 2kg, making it feasible for gimbal, drone or handheld operation. Controls are designed for flexibility, as both the handle and the front of the body feature multifunctional dials that can control focus, zoom, iris or ND. The camera includes dual three-inch side monitors for crew visibility, alongside a five-inch, 2000-nit LCD with multiple viewing angles and full touchscreen control. Customisable function buttons speed up on-set adjustments. For power, the GFX Eterna 55 accepts V-Mount batteries, but also houses a removable NP-W cell for 30 minutes of stand-alone operation or uninterrupted hot-swap battery changes. Dual media slots allow CFexpress Type B and SD cards. fujifilm-x.com
PERFECT MATCH This Fujinon power zoom is a fine companion to any GFX camera, but especially the Eterna 55
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BIG SCREEN TEST FOR ATOMOS Created for colourists and editors, Atomos has unveiled the Studio Pro-2710, a 27-inch reference- grade monitor, plus the Studio K-100 Spectral Calibration Probe. The monitor assures fidelity in a light, slim form factor that moves away from bulky and high-cost reference displays. It’s an OLED panel that stops colour fringing and aliasing for sharper, cleaner visuals. The Pro- 2710 introduces true 33 3D LUTs with tetrahedral interpolation – industry gold standard for colour accuracy – and a 3D LUT preview interface, letting users analyse colour transforms in real time. A sensor-calibrated surround lighting system calibrates the ambient room light alongside the display to create a steady reference environment for grading and review. There are front-facing input/ output ports and four integrated USB-C ports for peripherals and calibration probe connection, as well as a touchpad-driven interface inspired by modern mobile devices. The monitor comes pre-loaded with factory- calibrated presets and supports on-site recalibration via the new calibration probe. Unlike colourimeters, which depend on fixed colour filters to approximate how the eye perceives light, the Studio K-100 is a true spectral sensor. By directly measuring the full spectral power distribution of displays or light sources, the Studio K-100 interprets raw spectral information for laboratory-grade calibration. Prices have yet to be announced.
TOUCAN PLAY THIS GAME The new Shinobi 7 RX is dazzlingly bright and offers lots of connectivity options, wired or wireless Nits a long way to the top
A super-bright 2200-nit screen powers the new Atomos Shinobi 7 RX monitor T he brand best known for its recording monitors has returned to its roots with the Atomos Shinobi 7 RX, a super-
It inherits the camera control interface of the Shinobi II, offering adjustment of aperture, shutter speed and ISO for supported Canon, Fujifilm, Nikon, Panasonic, Sony and Z Cam models. Wireless video monitoring makes the Shinobi 7 RX an ideal partner for the Atomos TX-RX system. This allows wireless monitoring at up to 300m with latency under 60ms, supporting up to four destinations per transmitter. Other features include touch-to-focus control, a built-in 3D LUT box and focus and exposure tools such as false colour, waveform, peaking and zebra, dual NPF battery slots and on-device calibration. atomos.com
bright seven-inch HDR monitor. But now this £719/$799 accessory includes wireless video monitoring and expanded camera control. The Shinobi 7 RX is aimed at directors, focus pullers and crews who need a lightweight yet powerful on-set display or as a preview display for livestreaming switchers. It features a 2200-nit peak brightness screen for outdoor use, HDMI and 3G-SDI connectivity and support for more than ten stops of dynamic range from Log, PQ and HLG signals. Atomos has revealed major updates to its Atomosphere cloud platform with a new interface for iOS and Android users, including an integrated media player and direct mobile clip upload. Speech transcription, powered by Axle AI’s multi-language Axle Speech, is a standout feature. Open to paid members, it transcribes video clips and shows text in sync with footage for easier review and collaboration. Creators can upload content by drag and drop from a PC, SD card or via cloud upload from devices such as a Ninja, Shogun or iPhone paired with
A WHOLE NEW ATOMOSPHERE
the Atomos Ninja Phone and Mavis Camera app. Atomos is of ering free £199/$199 Ninja Phone units with 2TB annual memberships and 50% of memberships for Ninja TX buyers.
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Spark ignites high-speed filmmaking The new Pixboom is a global shutter Super 35 camera offering up to 1800fps at a cut price
while keeping file sizes manageable, while companion software Pixboom Cine promises easy integration into established post-production pipelines. Despite its impressive technical muscle, the Spark is a compact and portable unit, weighing under 1.1kg/2.4lb and measuring 108x110x130mm/4.25x4.33x5.2in. It’s built for handheld, drone and robotic arm rigs. A 3.5-inch, 6.22-million-dot touchscreen is built-in, alongside 12G-SDI, HDMI 2.0, Wi-Fi and USB-C connectivity. Its interchangeable electronic mount supports PL, EF and mirrorless glass, with metadata passthrough for VFX. The Pixboom Spark is finished in silver or black, with an integrated V-Mount battery plate. A rugged aluminium body rounds off its professional-grade credentials. Spark is the brainchild of Dr Young Hu, who began researching high-speed imaging a decade ago during his PhD. After years of R&D and team-building, Spark represents the company’s mission to democratise high-speed cinematography by removing the barriers of price, bulk and workflow complexity. “Spark is more than a camera – it’s an invitation to create the impossible,” said Hu. Early adopter shipping is planned for the start of 2026. pixboom.com
P ixboom had the IBC crowd the hands of more filmmakers. The world of true super-speed cinematography has traditionally been locked firmly behind bulky systems like the £70,000/$80,000 Phantom Flex. But the Spark changes that, with early-bird buyers able to snap one up for £6000/$8000, which includes a £1480/$2000 Pixboom Pro memory card. At its heart, the Spark carries a 14.2-megapixel Super 35 global shutter CMOS sensor, delivering more than 13 stops of dynamic range. By eliminating rolling shutter, it preserves every motion without skew or wobble, whether shooting fixated on its new Spark high- speed cinema camera designed to bring pro-level slow motion into sports, VFX plates or live action. Dual native ISO and a BSI sensor architecture give it decent low-light performance, says Pixboom, capturing clean slow motion in conditions that cripple traditional systems.
The Spark offers staggering frame rates of up to 670fps at 4.6K open gate, 887fps at DCI 4K and a blistering 2182fps at 2K. Crucially, this is backed by truly unlimited Raw capture thanks to 10GB/s throughput, meaning no RAM buffer limits. Recording is handled via Pixboom’s Pro Card media. Designed for sustained high-speed data rates, these cards offload via USB-C at 20Gbps without the need for a dedicated card reader. A compressed Pixboom Raw format preserves maximum sensor data
CATCH ME IF YOU CAM The 1800fps Pixboom can record incredible slow motion that opens up new creative options
Tripod giant Sachtler has revealed its Ace Mk II tripod head, the newest generation of its lightweight fluid head line. Available in both medium (M) and extra large (XL) versions, the updated range brings the Ace’s renowned SACHTLER SHOWS A SECOND ACE UP ITS SLEEVE smooth drag and precise counterbalance to an even more refined design. The Ace M Mk II supports cameras up to 4kg/8.8lb, while the £574/$722 Ace XL Mk II handles rigs up to 8kg/17.6lb, making the series adaptable for everything from
compact mirrorless builds to larger cinema set-ups. No UK or US prices have yet been revealed for the medium head. sachtler.com
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Teaching tomorrow’s filmmakers today The CVP Education Festival 2025 will inspire, inform and equip the creatives of the future
B ringing education, innovation and creativity together under one roof, the CVP Education Festival 2025 is a hands-on celebration of filmmaking’s future. Curated to inspire connection and spark creativity, the festival transforms London’s Fitzrovia into a hub of learning and discovery. Aspiring filmmakers, educators and industry professionals come together to explore cutting-edge production tools, gain experience with world-leading technology and exchange ideas that will shape the next generation of visual storytelling. Every session is designed to engage, empower and encourage, creating an environment where learning is just as collaborative as it is inspiring. A platform for the future Now in its third year, the CVP Education Festival has evolved into a cornerstone
event. It takes place from 4 to 6 November across several choice London locations such as CVP Fitzrovia, the CVP Creator Hub, Red London and the Cooke Gallery and test space. This is not a trade show, but a platform designed to connect the ideas, people and technologies that are driving professional creativity forward. By working alongside universities, film schools and training centres, CVP continues to strengthen its reputation as a trusted partner in education and innovation. Championing learning and connection The CVP Education Festival celebrates more than technology. Working closely with educators and creative communities across the UK, CVP ensures the festival remains relevant to both academic and professional worlds. From in-depth seminars to hands- on workshops, every element is curated to help filmmakers and students turn knowledge into practice. CVP’s expertise goes beyond sales, offering full-service support including engineering, repairs, finance and technical consultancy: a warts-and-all approach that makes the festival a vital meeting point for institutions and industry professionals. Experience the latest technology Throughout Fitzrovia’s creative district, festival-goers can explore the newest cameras, lenses and workflow solutions from brands such as Blackmagic, Red, Cooke, Sony, Fujifilm, Canon, Nikon, Manfrotto, Rycote, Hollyland and Mo-Sys. Whether testing new virtual production set-ups, experimenting with wireless workflows or learning about sustainable
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Tuesday 4 November 10am-6pm
Masterclasses and Workshops Special Panel & Networking Reception
HANDS-ON Visitors to the CVP Education Festival can test new kit and buy or sell used gear across its Fitzrovia venues
6-8.30pm
equipment practices through CVP’s circular trading and auction services, there’s something for experienced lecturers and first-year film students. Inspiring real-world learning The Education Festival’s programme is as diverse as the audience it attracts. Expect practical masterclasses, creative panels and technical deep-dives from some of the most respected names in the industry.
Wednesday 5 November 10am-6pm
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Thursday 6 November 10am-6pm
Masterclasses and Workshops
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FIVE REASONS YOU MUST ATTEND!
The CVP Education Festival offers a chance to explore CVP’s expanding ecosystem of educational support, technical services and industry engagement. You can: n Learn from industry experts n Get hands-on access to the latest equipment releases n Network with fellow creatives and brands n Take part in career-boosting panels and educational workshops n Seek opportunities for loads of inspiration and creative momentum
CVP Fitzrovia 89 Great Titchfield Street, W1W 6RN THE VENUES IN LONDON’S FITZROVIA
CVP Creator Hub 81 Charlotte Street, W1T 4PP
Cooke Gallery and Test Space 39 Newman Street, W1T 1QB
Red Digital Cinema London 32 Gresse Street, W1T 1QT
n Interview Essentials: Mastering the art of camera, sound and light on location with Kurt Chapman n Boom in: Insights into what techniques and equipment can handle and minimise noise and wind with Simon Beesley Empowering the next generation At its heart, the CVP Education Festival is about empowering the next generation of filmmakers. By creating a welcoming and knowledge-rich environment, CVP helps talented and energetic students gain confidence with industry-standard tools and workflows while also giving institutions direct access to professional resources and networks. It’s a space for ideas to flourish – proof that when education and industry work hand in hand, the results can shape the creative world for years to come.
Some of the highlights include: n Shooting Podcasts: From solo set-ups to multicam productions with Ollie Kenchington n Seamless Shoots: Wireless tools and techniques with Alan Stockdale n Blackmagic: Producing live broadcasts and podcasts with Alex Pettitt n From Gogglebox to Sidemen FC vs YouTube Allstars: Bringing big moments to life with Dan Greenway
n Colour Like a Pro: From flat to Netflix- ready footage with Darren Mostyn n Virtual Production: Getting to grips
with a new wave of immersive technology with Florian Gallier
n Building your Business as a Hybrid Shooter: Navigating content creation with Jenny Alice and Manfrotto One n Crafting Cinematic Stories: Learn how to competently handle the Fujifilm GFX Eterna 55 with James Tonkin
More information
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